Tag Archives: audio engineering

I am typically not a huge fan of so-called “book learning” or really any theory-based classroom instruction. I would argue that becoming comfortable with audio engineering takes getting your hands very dirty and being unafraid to press any and all buttons at least once (just to see what happens). Yes, you will mix yourself into a corner over and over, but each time will serve as an opportunity to learn and get better. The transition from Garageband to a full-service DAW presents a steep learning curve, and while Youtube tutorials can be very helpful, there will no doubt be many periods of frustration along the way to you getting the sounds you desire. However, admittedly, there is at least one drawback to this “jump right in” approach, which involves the development of bad habits. Or, perhaps, a better way of putting it is that you may learn ways of doing …Continue reading →

The first time I used software amp modeling it was out of pure necessity rather than personal preference. At the time (somewhere around 2007) I had just graduated to Logic from Garageband and was in a living situation where I could not crank an amp without it leading to an angry knock at the door. So, I played around with the built in guitar amp plugs for that version of Logic and found something that was a least a step up from the DI signal. But, I was never really satisfied with how the guitar sounded and figured I would always need to mic my amp in order to get tone that was tasteful enough to record. Little did I know at the time, but in a few years I would be relying almost exclusively on amp modeling for studio tracking my music as well as my clients. While none …Continue reading →

I absolutely love the show Dr. Katz. In what might be my favorite episode, DK has been asked to give a guest lecture as part of an adult education course (to which he is clearly ill prepared for). As Katz starts orally composing his speech, he gets caught up in critically analyzing each word of his opening, until everything sounds completely crazy to him. The same thing, of course, happens in mixing. Once I have completed a project, I can rarely ever listen back without becoming somewhat nauseated. Presumably, this means I have essentially “listened to failure” as they might say in the weight room. In other words, there is a level of saturation that occurs with all art forms, in which a person not only stops experiencing any joy by consuming the product, but the art actually worsens your mood. We have all experienced this with certain pop songs …Continue reading →

Volumes have been written on how important good acoustics are to a mixing room, and there are plenty of how-to guides out there that can help you through the process of creating these atmospheres in your home studio. When I first started out, I treated these recommendations as if they were unbreakable laws. I became obsessed with fixing every imperfection in my space, and would evaluate the the sound quality of the places I went (offices, gyms, hotel lobbies, etc.). It got to the point where I actually listed “bad acoustics” as a legitimate reason to quit a restaurant job I was working at the time. In time I discovered that the pursuit of the perfect listening room was becoming a major limitation for me. Not only did I not find the process all that interesting, but I was also becoming less trustworthy any speakers that were not my home …Continue reading →

My first attempt at studio tracking a band — outside of one that I played in — was for a punk group called Doll Fight!. This was a single song recording project, which would be featured on an upcoming compilation album. At the time, I was severely hamstrung when it came to both gear and the recording space (which in this case turned out to be a friend’s very acoustically unfriendly guest room). For the kit, I think I went with two condenser overheads and maybe a SM57 on the kick drum (if even that). The guitar went through a Metal Zone and was then DI’d along with the bass. We did two or three takes, followed by quick vocal overdubs and some saxophone. In the end, it took about an hour or so and we were all relatively pleased with the result. However, I remember at the time thinking …Continue reading →